Prof. Dr. Pamela Burnard
University of Cambridge (UK)
The Practice Imperative of Diverse Musical Creativities to Connect Education, Academia and Industry Sectors
Creative, entrepreneurial activity is recognized as a fundamental constituent of technological transformation, business expansion, wealth creation and is considered a major contributor to job creation. It is also recognised that successful musicians are entrepreneurs who have well-developed skills in diverse musical creativities – drawing on and developing creative leadership by motivating and collaborating with others. Our ability to imagine and invent new worlds is one of our greatest capitals and the origin of all human achievement. Young people need to develop multiple human capital creativities if they are to create and sustain careers in the creative industries. This presentation will explore what is distinctive about the pluralism of creativities. I will invite you to think about your creative ‘possible selves’ and how to think anew about the way you learn, reflect and engage your own human capital creativities. I will also invite you to consider some practice imperatives that should be at the forefront of education debates.
Pamela Burnard is Professor of Arts, Creativities and Education at the University of Cambridge, UK. She holds degrees in Music Performance, Music Education, Education and Philosophy. Her primary interest is creativities research for which she is internationally recognised. She is the author/co-author/editor of 12 books and multiple refereed journals. She is convenor of the Creativities in Intercultural Arts Network (CIAN), convenor of the British Education Research Association Creativity in Education SIG, coordinator of the Building Interdisciplinary Bridges Across Cultures (BIBAC) International Biennial Conference, and past co-editor of the British Journal of Music Education and the International Journal of Music Education. She serves on numerous editorial boards and is a Fellow of the Royal Society of Arts.
Prof. Dr. Gintautas Mažeikis
Vytautas Magnus University (LT)
Creativity and Developed Breakthrough: A Critical Theory approach
Philosopher, composer and critic T. Adorno developed a critical theory about creativity. He saw creativity as an essential ontological action. Adorno and his followers criticized the instrumentalisation and objectification of cultural industries, and treating something abstract as if it exists as a tangible object. This can be the case in the production of music or the use of music for propaganda purposes. On the contrary, abstract art can be interpreted depending on the level of responsibility and Developed Breakthrough (Durchbruch). Developed Breakthrough is the difficult task that is needed in order for contemporary civilization to escape from banalisation, regimentation and the engineering of culture – all of which are negatives presented in education systems. Developed Breakthrough is not only high ideas, but a multiplicity of alternatives, as emphasized by G. Deleuze and F. Guattari. I will ask you to consider the necessity of both Developed Breakthrough and multiple alternatives as opposition to ideological interpellation, pop cultural banalisation, and the manufacturing of reality.
Gintautas Mažeikis is Professor of Social and Political Theory and Criticism at Vytautas Magnus University in Kaunas, Lithuania. His research priorities include the philosophical and socio-political analysis of contemporary forms of false ontologies, substituted forms of thinking, contemporary conditio humana, critique of propaganda, Creative industries, and analysis of self-spectaclisation. He is a public intellectual and a critic of many social and political processes in Central-Eastern Europe; he collaborates with many new medias, broadcasters, and the press. He also participates in many projects related to the analysis and critique of contemporary Creative industries processes, educational strategies, political propaganda and informational wars, post-Gulagian studies, transformations of political memory, and revisionism.
Prof. Dr. Magne Espeland
Stord/Haugesund University College (NO)
Creativity and Improvisation in Music Education and Teaching: Towards Exclusive or Inclusive Practices?
Creativity and improvisation in human practices are often seen as a token of exclusivity, something that is only possible for the blessed few. Recent studies place the issue of inclusion as a global priority. Education, including teachers and teaching, represents an unparalleled agent for stimulating inclusion. But what is inclusion? And how does it relate to music education and teaching? In this keynote I will discuss these questions arguing that education and teaching need to describe, develop and implement what I label inclusive creative practices – a form of universal human capital. Young peoples’ participation in such practices opens up shared imaginative spaces, and creates ties among people on many levels becoming a vehicle for inclusivity. Thus inclusive identities, behaviours and ways of thinking can be promoted, developed and embedded. Inclusive creative teaching practices need teachers who can perform and organise such practices professionally, e.g. by approaching their classroom or studio with an improvisatory and open mind to whatever meets them there and then. Teacher education needs to establish a typology of professional improvisation in teaching that includes sequential, dialogic and exemplary teaching practices, as well as spontaneous reflection required at situational moments. I will ask you to consider the professional and creative educational actions that are the essence of creative, professional and inclusive teaching.
Magne Espeland is Professor of Music and Education at Stord/Haugesund University College (HSH) in Western Norway. Specialities include curriculum development and innovation in music and arts education, educational design studies, research methodologies for arts education, and project leadership. Current administrative duties include chairing a Research Program for Creativity and Culture Education and leading the research activities of “Improvisation in Teacher Education”– a three-year research project funded by the Norwegian National Research Council. In addition to numerous academic articles and book chapters in international publications, he has also published textbooks for music education in Norway and Ireland. M. Espeland was one of the founders of the Grieg Research School, a multi institutional co-operation between institutions in Western Norway.